Review: Nothing Indecent at Baltimore Center Stage with Paula Vogel’s Indecent

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 20 minutes with no intermission

What is and what is not indecent is really up to each individual but what is indecent in society changes as society grows and evolves. It’s interesting that what is looked on as no big deal today could throw a crowd of people into a rage a century ago. Much of what is on the stage today would send the previous generation reeling and Baltimore Center Stage’s latest offering, Indecent by Paula Vogel, Directed by Eric Rosen, gives us a look at how early 20th century audiences reacted to racy material that we don’t even blink an eye at today. It also reminds us that, though we may generally agree, as a society, what is indecent… in the end, it is in the eye of the beholder.

Briefly, Indecent is a historical play with music about a playwright, Sholem Asch, and a troupe of actors producing a real Yiddish play entitled God of Vengeance, by Asch in 1907 that caused quite an uproar when it got to Broadway. The play itself is a love story between two young women and was a success all over Europe (seems they weren’t as stuffy with this kind of material as America was at the time). It had to be toned down for American and Broadway audiences and even then, it was too much and the entire troupe was arrested for indecency. Throughout, the artists question what they must sacrifice for their storytelling and presentation of their art.

I’ve got to start by stating this is just a beautiful piece of theatre, all around. From Set Design, to Costume Design, to staging, and performance. I was enthralled from the moment the lights went down in the theatre and stayed engaged throughout. Vogel has weaved a splendid story that spans from the early 20th century through post World War II and she does it seamlessly. The dialogue is natural and wel thought-out and, even for someone who doesn’t have a Jewish or Yiddish background can appreciate the story itself and relate to the characters within that story. Baltimore Center Stage’s production is aesthetically pleasing, as well. Through the beautifully organized clutter on stage, a simple, yet complex story is told and pristinely performed by an apt ensemble.

Set Design by Jack Magaw is splendid and he uses his space wisely. Looking more like the backstage of a theatre, which it should, it complements the story beautifully. Using set pieces to present different locales instead of changing the space makes for smooth transitions and doesn’t interfere with the action and staging of the production. Kudos to Magaw for a wonderful design. Running in tandem with Magaw’s design is a terrific Lighting Design by Josh Epstein that blends nicely with the production as a whole and precisely sets the mood for each scene with an overall dim look with appropriate splashes of light and emphasis.

Having a sharp eye for detail, Linda Roethke’s Costume Design is superb. She captures the time settings and is consistent as the setting moves forward in time. The design is authentic and makes these characters real, bringing the audience even more into the story.

Director Eric Rosen has really nailed it with this production. His comprehension of the material is clear and his vision is exquisite. He knows these characters and has guided this cast to weave an intriguing, enthralling story. The smooth transitions in his staging are on point and keep the audience engaged from start to finish. The omission of an intermission is wise as it would break up the beautiful momentum this piece has. Rosen’s casting is spot on and he should be applauded for his efforts in this production.

On the performance side, every single member of this ensemble gives a marvelous performance. The chemistry is fantastic and they work well with and off of each other. Victor Raider-Wexler and Susan Rome take on the “elder” roles and Raider-Wexler makes you instantly feel at ease with his smooth, clear delivery of the material and his embodiment of each character he plays such as Otto, the first producer of God of Vengeance. In the same vein, Susan Rome is brilliant in the other “elder” roles she takes on. She portrays her characters with a certain gracefulness one would expect an experienced actor to have and she transitions through her various characters seamlessly. Both Raider-Wexler and Rome give strong, confident performances that are a pleasure to experience.

Jake Walker as “The Middle,” the actor of the troupe who plays the characters who no spring chickens but not young, bright eyed and bushy-tailed gives a great showing in this. He portrays his roles confidently, especially the character of Mendel, who is cynical of this new play and its content. He looks good in the role and portrays it with the perfect balance of pretentiousness and humbleness.

Two of the folks we see most are Susan Lynskey as The Middle/Halina and Emily Shackelford as The Ingenue/Chana. Lynskey has a great command of the stage and completely embodies her character. She plays her roles with confidence and emotes the no-holds-barred personality of them, making for a striking, emotional performance. Alike, Shackelford holds her own and portrays her characters with just the right amount of gusto and calm. These two actresses have a pristine chemistry that makes the roles work so well. It’s impressive because of the various roles these two are playing but yet, the chemistry between them is consistent and absolute in the scenes that call for it. Kudos to both Lynskey and Shackleford for exquisite performances.

Another familiar face throughout the production is Max Wolkowitz as The Ingenue/Avram. Wolkowitz also takes on the role of the playwright, Sholem Asch and he plays him to the hilt. His authentic portrayal and confidence in the role makes for a hard-hitting performance. He seems to have a deep knowledge of this character and respectfully portrays him. The conflict within Sholem Asch is clear and Wolkowitz’s urgency and passion is a joy to watch as he brings this man back to life.

A definite highlight of this production is Ben Cherry as Lemml, or “Lou”, the Stage Manager of this troupe of actors. Cherry, from the beginning, makes this charming, simple character loveable. You can’t help but get a warm feeling when he speaks and the way he plays this character makes you think he is just the nice guy next door. The character itself is amazing because he’s supposed to be a simple tailor from a small town but he seems to be the only one, among more sophisticated, scholarly folks, who understands the beauty of this new, brash play called God of Vengeance. Cherry plays him with just the correct amount of charm and childish naiveté that makes you just want to hug him and protect him. The authenticity in his portrayal makes it an impeccable performance.

Finally, I would consider this a play with music and giving standout performances are The Musicians, John Milosich, Maryn Shaw, Alexander Sovronsky, with Sovronsky being the Music Director and, Composer of Original Music. These folks are seriously singing for their supper but they do it flawlessly. Their impressive technique and talent on their musical instruments add so much value to this production and they are well-rehearsed and polished. Though all of ensemble take on double, even triple duty, with various roles, there’s just that extra bit for Milosich, Shaw, and Sovronsky by adding in musical instruments and these three step up to the challenge and absolutely succeed. Kudos and commendations to these fine musicians and their efforts.

Final thought…  Indecent may be one of the best productions I’ve seen this season. It’s a beautifully written and performed piece and will leave you questioning your own morals and values. The performers are on point with their characters and give 100% effort to tell this engaging and poignant story that needs to be told. The fact that it’s based on true events makes it even more enthralling and Paula Vogel has knocked it out of the park with her script. The story is relevant and thought-provoking, technical designs are exquisite, staging is superb, and performance is splendid. You need to see this show this season. Get your tickets now and experience it for yourself.

This is what I thought of Baltimore Center Stage’s Indecent… What did you think? Please feel free to leave a comment!

Indecent will play through March 31 at Baltimore Center Stage, 700 North Calvert Street, Baltimore, MD. For tickets, call the box office at 410-332-0033 or you can purchase them online.

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PRESS RELEASE: Baltimore Center Stage Announces 2018/19 Mainstage Season

FOR RELEASE ON MARCH 8, 2018

Baltimore Center Stage Announces 2018/19 Mainstage Season

Baltimore—March 7, 2018. Baltimore Center Stage is pleased to announce its 2018/19 Mainstage Season, which includes a world premiere and a classic family drama, along with provocative political and social justice stories providing a lens into American life across cultures.

“Our 2018/19 Season is going to be a theater-goers’ theater season, full of the kind of diverse, smart, entertaining and thought-provoking work you have come to expect from Baltimore Center Stage,” said Michael Ross, Baltimore Center Stage Executive Director. “It’s a season of acclaimed hits, voices new and returning, and stunning theatricality. “

Our 56th season kicks off with the sultry American classic, Cat on a Hot Tin Roof. Award-winning playwright Lauren Yee brings a fresh comedy to the stage with King of the Yees, and Marcus Gardley’s A Wonder in My Soul, updated with a Baltimore setting, will be our holiday production. The season will also feature Paula Vogel’s highly acclaimed play Indecent, and the 2015 Tony Award-winning musical Fun Home. The world premiere of Christina Anderson’s How to Catch Creation will close out the 2018/19 Season.

2018/19 Season

A SULTRY AMERICAN CLASSIC
Cat on a Hot Tin Roof
by Tennessee Williams
Sep 13–Oct 14

In this enduring American classic, family ties and layers of lies collide over the course of one simmering Southern summer night. Themes of morality, greed, and desire play across the stage in this explosive drama about what can happen when illusions begin to unravel. Brick, racked with guilt over his best friend’s death, numbs his pain with drink. Maggie, his wife, is determined to win even fleeting attention from her neglectful husband. But when three generations come together to celebrate a birthday—and discuss a will—all of the players start to the crack under the pressure and the heat. How long can tensions build in a house boiling over with uncertainty, secrets, and maybe even love?

HEARTFELT HILARITY BRIDGING GENERATIONS
King of the Yees
By Lauren Yee
Oct 25–Nov 18

Playwright Lauren Yee has always felt like an outsider, especially compared to her father, Larry, the unofficial center of their Chinese American community. When Larry suddenly goes missing, Lauren has to chase through time, space, and the fourth wall itself to find her father, save his story, and chronicle a vanishing piece of American culture. Explore the vivid legacy of one changing Chinatown through the vibrant imagination of a new generation in award-winning playwright Lauren Yee’s smart and cheeky family comedy.

A STORY OF FRIENDSHIP, FAMILY, AND THE HEART OF A NEIGHBORHOOD
A Wonder in My Soul
By Marcus Gardley
Nov 29–Dec 23

In a Baltimore beauty shop, two longtime co-owners and best friends grapple with a major decision. Remain as the anchor of their beloved neighborhood, or relocate under the pressures of gentrification and crime? In dialogue that resonates with everyday poetry, and filled with music both profound and stirring, A Wonder in My Soul looks at the evolution of one family and a whole community through the eyes of two best friends and their lifetime of friendship.

A COMING-OUT MUSICAL, BASED ON A TRUE FAMILY
Fun Home
Jan 17–Feb 24
Music by Jeanine Tesori
Book and lyrics by Lisa Kron
Based on the graphic novel by Alison Bechdel

Welcome to the Bechdel family. But just what family is it? Through the searching eyes of daughter Alison—aged 9, 17, and then 42—we meet her ever-shifting and sometimes unreliable memories of brothers, mother, and above all her repressed father, along with recollections from the family funeral home to Alison’s coming out. Based on Bechdel’s own best-selling illustrated memoir, this poignant tale harnesses every facet of music and theater to explore and unravel the mysteries of childhood and the surprising secrets that shape a life. Winner of the 2015 Tony Award for Best Musical, from the composer of Caroline, or Change and the writer of 2.5 Minute Ride.

WOULD YOU GO TO JAIL FOR WHAT YOU LOVE?
Indecent
By Paula Vogel
Produced in Association with Arena Stage and Kansas City Rep
Feb 28–Mar 31

What is the cost when we sacrifice truth for success? Can radical love be pious, or merely provocative? Does every religion sell God for a price? Follow the true story of a play, a playwright, and a plucky troupe of Yiddish theater artists from 1906 Warsaw to 1923 Broadway, from risky experiment to global sensation—and ultimately shattering scandal. The latest hit from the Pulitzer Prize-winning playwright of A Civil War Christmas, The Baltimore Waltz, and How I Learned to Drive, this highly acclaimed and award-winning drama pays homage to artists ahead of their time and doomed to pay the price.

FROM LOVE TO ART AND BACK AGAIN
How to Catch Creation
By Christina Anderson
May 2–26

In the mid-1960s, a young writer’s life turns upside down when her girlfriend drops some unexpected news. Even 50 years later, the reverberations of that moment, and its unexpected consequences, still echo in the intersecting lives of four individuals caught up in a rapidly changing world. This is a bittersweet story of finding and following our passions from Christina Anderson, winner of the Lorraine Hansberry Award. This world-premiere play that explores the universal act of creation—of life, of family, of art—spans space and time to inspire a new generation of makers and lovers.

About Baltimore Center Stage

Baltimore Center Stage is a theater committed to artistic excellence. We engage, enrich, and broaden the perspectives of diverse audiences through entertaining and thought-provoking work and educational programs. Named the State Theater of Maryland in 1978, Baltimore Center Stage has steadily grown as a leader in the national regional theater scene. Under Executive Director Michael Ross, Baltimore Center Stage is committed to creating and presenting a diverse array of world premieres and exhilarating interpretations of established works. Baltimore Center Stage believes in access for all—creating a welcoming environment for everyone who enters its doors and, at the same time, striving to meet audiences where they are. In addition to Mainstage and Third Space productions in the historic Mount Vernon neighborhood, Baltimore Center Stage ignites conversations across Baltimore and beyond through the Mobile Unit, which brings high-quality theater to economically, culturally and geographically diverse communities. The theater also nurtures the next generation of artists and theatergoers through the Young Playwrights Festival, Student Matinee Series, and many other educational programs for students, families, and educators

2017 Tony Awards Announced! The Great Comet, Hello, Dolly!, and Dear Evan Hansen Lead Nominations

A day late, but… here you have it everyone! The 2017 Tony Award Noms! Some interesting noms, but also some very interesting snubs! What are your predictions?
Click on the links for more info on the shows!

Best Play
A Doll’s House, Part 2 by Lucas Hnath
Indecent by Paula Vogel
Oslo by J.T. Rogers
Sweat by Lynn Nottage
Best Musical
Come From Away
Dear Evan Hansen
Groundhog Day
Natasha, Pierre & the Great Comet of 1812
Best Book
David Hein and Irene Sankoff, Come From Away
Steven Levenson, Dear Evan Hansen
Dave Malloy, Natasha, Pierre & the Great Comet of 1812
Danny Rubin, Groundhog Day
Best Score
David Hein and Irene Sankoff, Come From Away
Dave Malloy, Natasha, Pierre & the Great Comet of 1812
Tim Minchin, Groundhog Day
Benj Pasek and Justin Paul, Dear Evan Hansen
Best Revival of a Play
Jitney
The Little Foxes
Present Laughter
Six Degrees of Separation
Best Revival of a Musical
Falsettos
Hello, Dolly!
Miss Saigon
Best Leading Actor in a Play
Denis Arndt, Heisenberg
Chris Cooper, A Doll’s House, Part 2
Corey Hawkins, Six Degrees of Separation
Kevin Kline, Present Laughter
Jefferson Mays, Oslo
Best Leading Actress in a Play
Cate Blanchett, The Present
Jennifer Ehle, Oslo
Sally Field, The Glass Menagerie
Laura Linney, The Little Foxes
Laurie Metcalf, A Doll’s House, Part 2
Best Leading Actor in a Musical
Christian Borle, Falsettos
Josh Groban, Natasha, Pierre & the Great Comet of 1812
Andy Karl, Groundhog Day
David Hyde Pierce, Hello, Dolly!
Ben Platt, Dear Evan Hansen
Best Leading Actress in a Musical
Denee Benton, Natasha, Pierre & the Great Comet of 1812
Christine Ebersole, War Paint
Patti LuPone, War Paint
Bette Midler, Hello, Dolly!
Eva Noblezada, Miss Saigon
Best Featured Actor in a Play
Michael Aranov, Oslo
Danny DeVito, The Price
Nathan Lane, The Front Page
Richard Thomas, The Little Foxes
John Douglas Thompson, Jitney
Best Featured Actress in a Play
Johanna Day, Sweat
Jayne Houdyshell, A Doll’s House, Part 2
Cynthia Nixon, The Little Foxes
Condola Rashad, A Doll’s House, Part 2
Michelle Wilson, Sweat
Best Featured Actor in a Musical
Gavin Creel, Hello, Dolly!
Mike Faist, Dear Evan Hansen
Andrew Rannells, Falsettos
Lucas Steele, Natasha, Pierre & the Great Comet of 1812
Brandon Uranowitz, Falsettos
Best Featured Actress in a Musical
Kate Baldwin, Hello, Dolly!
Stephanie J. Block, Falsettos
Jenn Colella, Come From Away
Rachel Bay Jones, Dear Evan Hansen
Mary Beth Peil, Anastasia
Best Scenic Design of a Play
David Gallo, Jitney
Nigel Hook, The Play That Goes Wrong
Douglas W. Schmidt, The Front Page
Michael Yeargan, Oslo
Best Scenic Design of a Musical
Rob Howell, Groundhog Day
David Korins, War Paint
Mimi Lien, Natasha, Pierre & the Great Comet of 1812
Santo Loquasto, Hello, Dolly!
Best Costume Design of a Play
Jane Greenwood, The Little Foxes
Susan Hilferty, Present Laughter
Toni-Leslie James, Jitney
David Zinn, A Doll’s House, Part 2
Best Costume Design of a Musical
Linda Cho, Anastasia
Santo Loquasto, Hello, Dolly!
Paloma Young, Natasha, Pierre & the Great Comet of 1812
Catherine Zuber, War Paint
Best Lighting Design of a Play
Christopher Akerlind, Indecent
Jane Cox, Jitney
Donald Holder, Oslo
Jennifer Tipton, A Doll’s House, Part 2
Best Lighting Design of a Musical
Howell Binkley, Come From Away
Natasha Katz, Hello, Dolly!
Bradley King, Natasha, Pierre & the Great Comet of 1812
Japhy Weideman, Dear Evan Hansen
Best Direction of a Play
Sam Gold, A Doll’s House, Part 2
Ruben Santiago-Hudson, Jitney
Barlett Sher, Oslo
Daniel Sullivan, The Little Foxes
Rebecca Taichman, Indecent
Best Direction of a Musical
Christopher Ashley, Come From Away
Rachel Chavkin, Natasha, Pierre & the Great Comet of 1812
Michael Greif, Dear Evan Hansen
Matthew Warchus, Groundhog Day
Jerry Zaks, Hello, Dolly!
Best Choreography
Andy Blankenbuehler, Bandstand
Peter Darling and Ellen Kane, Groundhog Day
Kelly Devine, Come From Away
Denis Jones, Holiday Inn
Sam Pinkleton, Natasha, Pierre & the Great Comet of 1812
Best Orchestrations
Bill Elliot and Greg Anthony Rassen, Bandstand
Larry Hochman, Hello, Dolly!
Alex Lacamoire, Dear Evan Hansen
Dave Malloy, Natasha, Pierre & the Great Comet of 1812
Recipients of Awards and Honors in Non-Competitive Categories:
Special Tony Award for Lifetime Achievement in the Theatre
James Earl Jones
Special Tony Award
Gareth Fry
Pete Malkin

Regional Theatre Tony Award
Dallas Theater Center
Isabelle Stevenson Tony Award
Baayork Lee
Tony Honors for Excellence in the Theatre
Nina Lannan
Alan Wasser

Tony Nominations by Production:
Natasha, Pierre & The Great Comet of 1812 – 12
Hello, Dolly! – 10
Dear Evan Hansen – 9
A Doll’s House, Part 2 – 8
Come From Away – 7
Groundhog Day – 7
Oslo – 7
Jitney – 6
The Little Foxes – 6
Falsettos – 5
War Paint – 4
Indecent – 3
Present Laughter – 3
Sweat – 3
Anastasia – 2
Bandstand – 2
The Front Page – 2
Miss Saigon – 2
Six Degrees of Separation – 2
The Price – 1
The Glass Menagerie – 1
Heisenberg – 1
Holiday Inn – 1
The Play That Goes Wrong – 1
The Present – 1